Mourning the Bards: Interrogating the Contemporaneity of John Milton’s Lycidas and Pius Adebola Adesanmi.

2021 ◽  
Vol 2021 i (14) ◽  
pp. 84-97
Author(s):  
Clement Ajidahun ◽  
Keyword(s):  
Contemporary Society ◽  
The Dead ◽  
The Guardian ◽  
Mourning Process

This paper examines John Milton’s ‘Lycidas’ in line with the traditional conventions for analyzing pastoral elegies which include the invocation of the muses, the presence of nature in the mourning process, the charging of the guardian spirits by the mourners of negligence, the mourning procession, the questions of justice, elaborate passage and the final consolation. The paper further interrogates the African concept of death and the mourning of the dead. It further discusses the semiotic codes of death and mourning in Africa. It also critically examines the contemporaneity ‘Lycidas’ and its place in the contemporary society by juxtaposing the mourning of the death of King Edward and Prof. Pius Adebola Adesanmi. The paper, which is dedicated to the sad memory of late Prof. Pius Adesanmi, quarries the similarities and the coincidences between the death and the mourning of King Edward and Prof. Pius Adesanmi who were both young and dynamic poets and scholars but who died prematurely while travelling. The paper shows that their death symbolizes the universality and the inevitability of death.

scholarly journals Dressing the dead body

2016 ◽  
Vol 6 (2) ◽  
pp. 143-155 ◽  
Author(s):  
Birgitta Nordström
Keyword(s):  
Infant Mortality ◽  
Active Role ◽  
Dead Body ◽  
Artistic Practice ◽  
Collaborative Project ◽  
The Dead ◽  
Mourning Process

My current research focuses on textiles and rites, especially woven textiles for funerals and moments of loss. What active role can a textile such as an infant-wrapping cloth or a funeral pall play in the mourning process? This article will describe the development and current questions that address 1) the infant-wrapping cloth – the textile that is used to dress, clothe, or cover the dead body with particular attention to the question of infant mortality and the material practices of care. 2) The funeral pall that is used at funerals, draped over the coffin or as a body cover at hospital viewing rooms. One example to be presented is Kortedalakrönika (‘The Chronicle of Kortedala’), a collaborative project, woven for a church in Gothenburg. My work is based in artistic practice but opens up several scientific and existential questions.

The mourning process and “living with the dead”: Two case reports and a review of the literature

2020 ◽  
Vol 66 (1) ◽  
pp. 407-412
Author(s):  
Caterina Bosco ◽  
Lucia Tattoli ◽  
Giancarlo Di Vella ◽  
Francesco Ventura ◽  
Alfredo Verde ◽  
...  
Keyword(s):  
Case Reports ◽  
Review Of The Literature ◽  
The Dead ◽  
Mourning Process

The New Forms of Mourning: Loss and Exhibition of the Death on the Internet

2016 ◽  
Vol 77 (3) ◽  
pp. 280-295 ◽  
Author(s):  
Julie Alev Dilmaç
Keyword(s):  
The Internet ◽  
Contemporary Society ◽  
Common Currency ◽  
Time And Space ◽  
Funeral Practices ◽  
The Dead ◽  
Modern Technologies ◽  
The Web

According to some specialists, ceremonial funeral practices are inclined to disappear, particularly as death is an object of repression in contemporary society. However, it seems that new forms of rituals are developing through modern technologies. Virtual tombs, memorial webpages, and the celebration of death anniversaries are now common currency on the Internet. Nonetheless, the overexposure favored by the Web seems to question traditional ways of “living out” one’s grief, subjecting the living and the dead to a redefinition of concepts of time and space, and entailing new forms of interaction.

scholarly journals NATA SANKIRTANA AND MANIPURI SOCIETY

2018 ◽  
Vol 6 (5) ◽  
pp. 476-480
Author(s):  
M.Thoiba Singh
Keyword(s):  
Classical Music ◽  
Family Members ◽  
Rhythmic Pattern ◽  
Dead Body ◽  
The People ◽  
The Family ◽  
The Dead ◽  
The Guardian ◽  
Society Today

The Nata Sankirtana style of singing which was introduced during the reign of Rajarshi Bhagyachandra (1763-1798 A.D.). The great masters and scholars of that period composed and sang the padavali strictly after the Bhagavata tradition and other major Vaishnavite text and based the composition also on the traditional Ragas and Raginis of classical music tradition. Modern research has discovered a lot of regional overtones in the architecture of the particular Ragas and Raginis. The Manipuris call the Nata Sankirtana singing their own and it is clearly a form of collective prayer, a Mahayajna as they call it, lasting for about 5 hours at a stretch with a lot of rituals, movements and rhythmic pattern, strictly after the vaishnavite faith. Nata Sankirtana is a composite version of music, dance and tala; a Sangeet in the true sense of the term. It is also Drishya Kavya, a poem made visible. Nata Sankirtan is a very important aspect in the lives of the people in Manipur. It is because when our end is near, people listen to Hari-naam to relieve us from all the wrong doings that we have done before, so that we die peacefully. After death the family members would take the dead body for the last rites. In the shraddha ceremony, the Nat Sankirtana will start with raga. Before the invocation of the god and prayers start, Pinda- dan cannot be offered. After offering the Pindadan, the owner of the ceremony will have a bath and wear washed clothes. He will then come and offer his respects towards the end of the Sankirtan when Raga Bijay is being performed. The Shraddha ceremony comes to an end with the guardian of the Mandap sending the departed soul to beikuntha dham.  In case of any death in a house, Naam Sankirtana plays an important role. In the ten days of mourning or Dashahan, the ritual will start with Naam Sankirtana and other rituals like reading Shrimad Bhagavat Gita will follow. The particular person who mourns, known as the Gira thangba, will only offer Pindadan after the Sankirtana starts. Even in asti sanchai or the ritual of picking up the remains from the grave, Sankirtana is performed along with Parikrama around the Hari mandir. In this manner,for Meitei Vaishnavites living in the society today, Nat Sankirtana Mahayajna was become an indispensable event in the lives of the people since time immemorial. In short, Nata Sankirtana is the only highest karma for the Meitei society. This paper attempts to understand the important role of Nata Sankirtana in Manipuri society.

The Theory of the Major Theological Principles of Eight Anthologies

2021 ◽  
Vol 3 (S-2) ◽  
pp. 218-221
Author(s):  
Jeyabharathi T
Keyword(s):  
The North ◽  
The Creation ◽  
The Dead ◽  
The Difference ◽  
Definition Of ◽  
The Guardian ◽  
The Village

The creation of God is the belief that we will be safe by creating rituals and temples that are sacrificed by men who are afraid of the fury of nature. They also gave their hunting tools to the gods who created it and also established idolatry. Among the gods that were so, there is a dual ity of the small god. At first, the small deities were worshipped on the border of the village as a place where the dead ancestors lived as people. This is called the Guardian Goddess. The great deities are considered to be the deity of every deity shown in Thelly. The difference between the minor gods and the great gods does not appear to have been in the Sangam literature. However, it is a discretion to match the definition of today. In the society where the dead were usually the middle stones, the stones became worship. The study is the only small-sighted cult of the four temples that were built for the king, the deceased, the dead from the north, the life of the goddess, the king and the living.

Portraying the Dead

1989 ◽  
Vol 19 (1) ◽  
pp. 1-20 ◽  
Author(s):  
Jay Ruby
Keyword(s):  
Nineteenth Century ◽  
Turn Of The Century ◽  
The Body ◽  
Place Of Death ◽  
Post Mortem ◽  
Nineteenth Century America ◽  
The Dead ◽  
As If ◽  
Mourning Process

This article explores the custom of post-mortem photography. In nineteenth century America, this was a socially acceptable, publicly acknowledged form of photography. Professional photographers accepted commissions, advertised the service, and held professional discussions in their journals about the practice. The images were publicly displayed in wall frames and albums. Initially, death pictures were portraits which attempted to deny death by displaying the body as if asleep, or even conscious. By the turn-of-the-century, the deceased were displayed in a casket with an increasing emphasis upon the funeral. Today, families make their own photos; circulating them in a private manner so that many people assume that the custom has been abandoned. Counselors working with the parents of children who have died provide evidence that these images can be useful in the mourning process. The findings of this study suggest that a more thorough examination of the place of death-related photographs in the management of grief would be of value.

The Immortals: Prehistoric Individuals as Ideological and Therapeutic Tools in our Time

2016 ◽  
Author(s):  
Nina Nordström
Keyword(s):  
Human Remains ◽  
Modern World ◽  
Contemporary Society ◽  
Early Medieval ◽  
Full Picture ◽  
Biographical Approach ◽  
History Of ◽  
The Dead ◽  
Therapeutic Tools ◽  
The One

Archaeologists have begun to look more closely at the history of displaying the dead in museums. One important reason for this is a growing awareness of the fact that, apart from deepening our understanding of certain events in prehistory, the evidence, such as bodies in different states of decay as well as grave-goods, reflects changing attitudes towards death and what it means to be human. One example is Howard Williams’s appeal for the need to look at how early medieval graves are displayed in British museums. He points out that we must be more aware of the seductive and even misleading reconstructions that we can see today, but he also suggested that we should focus more on ‘the bigger picture’: the broader contexts of factors and influences affecting how we display the archaeological dead. This concerns the question: ‘What do the early medieval dead ever do for us?’ He suggests that currently we pay too much attention to the two ‘fringe groups’: those who either stand for the scientific value alone of human remains on the one hand or those who object to the display of the dead on ethical or religious grounds on the other (Williams 2010). Instead, he proposes we focus more on the social roles of the archaeological dead in contemporary society. For several years I have worked on similar issues, mainly with the purpose of understanding why some individuals from the past become famous and ‘immortal’ whereas others are more or less forgotten in their showcases (Nordström 2006a,b, 2007, 2010). I have adopted a biographical approach to human remains in museums in order to afford a full picture of these individuals’ ideological and therapeutic value in contemporary society. What do they, as individuals, as timeless renowned characters, mean to us today? It is important to understand their role in our modern world both as evidence for the human past and as famous objects in museums today. Last but not least, it is vital to recognize that the mass media—newspapers, documentaries, and the like—play an important role in how these individuals’ stories are told and retold.

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